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The Mendoza-Pavone summer series presents: Du.O & Weston Minissali



Du.0 (pronounced "du point oh") is a feminist-gesamtkünstwerk-chamber-noise violin duo based in New York City. Our names are Aimée Niemann and Charlotte Munn-Wood, and we play old, new, and improvised music on our violins (and sometimes non-violins). We specialize in experimental expression and enjoy surprising and invigorating our audiences with a down-to-earth, welcoming feeling in our performances. Du.0 recently successfully crowdfunded a dual commissioning project with composers Leah Asher and Scott Wollschleger for two new works to be premiered by the duo in early 2020.

Project Description:

Since September 2018, Du.0 has continually developed and expanded upon a chant melody by Hildegard von Bingen (1098 - 1179 CE). Titled "Item de virginibus" (roughly translated to "Also, of the maids"), the music in its original form unfolds over the course of several minutes. We have taken sections of the melody and reinterpreted them through our duo's improvisational voice, incorporating elements of just intonation, drone, extended string techniques, loud and soft noise, facial choreography, and vocalization. Though we speak with contemporary voices, we hope to preserve the mysticism and reverence of the original piece and its Latin text:

O most noble Greenness, rooted in the sun,

And who shines in bright serenity upon the wheel,

Nothing on earth can comprehend you.

You are encircled in the arms of divine mysteries;

You are radiant as the dawn and burn as the flame of the sun.


Weston Minissali

Weston Minissali is a composer and synthesizer player living in Brooklyn. He primarily writes/performs/releases with the microtonal pop band Erica Eso, with a forthcoming LP on NNA. He has toured throughout North America and Europe with other bands such as Cloud Becomes Your Hand, VaVatican and Trumpet Trumpet Synthesizer. Since the beginning of Erica Eso in 2015, most of his work has utilized/indulged/critiqued the pop form while remaining close to his avant-garde roots. This will be his first piece in several years where he will abandon song structure altogether and explore a single, patient, long-form work. The piece takes it's inspiration and form from a Zen Buddhist chant entitled Daihishin Dharani and will be performed by electronic piano and synthesizer tuned to Just Intonation.